Even Bad Books tell good stories. On their self-titled debut album, Bad Books (Manchester Orchestra plus Kevin Devine) takes the pop genre head on. But it is by no means a pure pop album, as the band improves on the genre with uncharacteristic musical additions and the storytelling skills of Kevin Devine and Manchester Orchestra lead singer Andy Hull.
The band is advertised as a collaboration between alt-rockers Manchester Orchestra and singer/songwriter Devine. But a more proper description would pin Bad Books as a project spearheaded by Devine and Hull, with the other members serving as their backing band.
The two seem to be fully aware and unashamed of their uncharacteristic delving into the pop genre. However, as Devine described, the band does not stay completely true to the genre, adding foreign parts to throw it slightly off balance and keep you on your toes.
The band’s addition of off kilter parts to traditional pop arrangements makes for a refreshing take on a familiar sound. A tremolo lead guitar intrudes on a simple chord progression (“Baby Shoes”). The spooky, layered vocals of a verse rival the playful “ahs” of a chorus (“How This All Ends”). A shaky sci fi organ elevates a straightforward acoustic arrangement (“You’re a Mirror I Cannot Avoid”).
Each of these songs pushes the pop envelope, making an artful tier in a neatly folded arrangement. While they maintain their balance with a one foot in, one foot out approach for most of the songs, Devine and Hull cannot resist jumping into the inviting sounds of the mainstream, if only for a couple moments.
Their foray into pure pop is not unwelcome, as they show they are capable of creating approachable and upbeat songs without making you feel guilty for liking them. This shows Devine and Hull’s successful, if uncharacteristic, mastery of the genre. The album is heavily acoustic, which is a movement away from the hardest rock of Manchester Orchestra.
Consequently, the loudest moments of the album tend to be the weaker representations of the band’s talent. “Please Move” is the best example, as it is the most rambunctious track of the bunch. However, the song’s subtler verse makes up for the messy chorus, resulting in something that is not altogether unpleasant to listen to.
Perhaps this movement away from distorted rock is a reflection of singer/songwriter Devine’s influence on the band, and also a possible indication of Hull and Manchester Orchestra’s direction as a band. Thus it is not a coincidence that the acoustic tracks are where the band shines on their debut album. The bare bones, acoustic sound provides the perfect setting for Devine and Hull to show off their storytelling skills.
On “Mesa, AZ,” Devine brings you into the backseat of a lengthy southwestern road trip of winding conversations and wavering thoughts. Hull follows suit with the album’s gloomy closer, “Texas,” on which Hull’s lonely voice is accompanied by only a guitar, a desolate arrangement that pays homage to the state from which the song gets its name. This barren arrangement amplifies Hull’s self-deprecating tale of lost love and desperate pleads.
Appearing back-to-back to conclude Bad Books, these two are a microcosm of the band itself. Two polished storytellers and musicians, with the help of a talented band, got together to do what they do best.
4 out of 5 stars